Combined Syllabus for Undergraduate Jazz Saxophone Private Study (MSJ JSA - JSN)

Note: Entering levels and pace of advancement of students may vary significantly. This syllabus represents a rough summary of what is expected at various levels, based on the achievements of average students of similar levels in the past.

Students are expected to memorize a minimum of 10 tunes per semester for a total repertoire of 80 tunes by graduation. (This number is usually exceeded by a wide margin).

The levels by semester:

JSA

Introduction to principals of saxophone acoustics
Introduction to tone production, intonation, tonal color, and blend
Basic technique, scales and chords as assigned
Jazz phrasing
Establishment of a “tune list” (repertoire)
Study of improvised solos through transcription

Suggested study material:

     Selected studies from Taffanel/Gaubert Method for Flute
     p112-115, 125, 128-133

     Major scales full range, thirds, fourths, diatonic seventh chords

     Greg Fishman Jazz Saxophone Etudes

     Salviani/Iasilli Exercises in the Practical Keys

Transcription suggestions: Sonny Stitt, Hank Mobley, Stanley Turrentine
Sonny Rollins, Cannonball Adderley


Tune suggestions: There Will Never Be Another You, On Green Dolphin
Street, Watch What Happens, Misty, Polka Dots and Moonbeams,
Tenor Madness, Oleo

Minimum number of memorized tunes: 10


JSB

Continuation of JSA material as needed

Suggested study material:

    Melodic minor scales full range, thirds, fourths, diatonic seventh chords

    Bob Mintzer Jazz and Rock Etudes and Blues and Rock Etudes

    Guy Lacour Etudes on the Modes

   
Transcription suggestions: Charlie Parker, John Coltrane 1953-58, George Coleman, Phil
Woods, Paul Desmond, Dexter Gordon

Tunes suggestions: Solar, So What, What is This Thing Called Love, Donna Lee,
Girl From Ipanema, Meditation, I’ll Remember April,
In a Sentimental Mood, Satin Doll, Take The A Train

Minimum number of tunes on tune list - 20

JSC - JSD

Continuation of earlier levels as needed

Suggested study material:

     Diminished Scales

     Harmonic minor/major scales and patterns

     Pentatonic Scales/Patterns

     Application of melodic minor/pentatonic scales

     Extended range exercises

     Chromatic scale extensions

     Tritone substitutions

     Bergonzi Pentatonics, Melodic Structures, Melodic Rhythms

     Ted Reed Syncopation

     Luis Bellson Modern Reading in 4/4 Time

Transcriptions Suggestions: Michael Brecker, Bob Mintzer from Twin Tenors album
Joe Henderson

Suggested Tunes: Stella By Starlight, I Love You, Along Came Betty, Stablemates,
Body and Soul, Nica’s Dream, Giant Steps

Minimum tune list JSC 30; JSD 40



JSE – JSF

Continuations or earlier semesters as needed

Suggested Material:

     Augmented Scale

     Rhythmic exercises from drum methods

     Continue extended range studies

     A cappella improvisation

     Studies in melodic/rhythmic development

     Walt Weiskop Jazz Etudes, Gary Campbell Expansions

Suggested Transcriptions: Later John Coltrane, Michael Brecker, Kenny Garrett, David Liebman
Chris Potter, Branford Marsalis, Bob Berg

Suggested Tunes: Coltrane Giant Steps adaptations, Compositions by Ron Miller, Wayne Shorter, Joe Henderson

Minimum tune list JSE 50; JSF 60

JSG-JSH

Recital Preparation

Suggested material:

     Building of repertoire: concentration on selected influential composers: Ellington, Shorter, Hancock, Miller, Silver,

                                       Jobim, Golson, Liebman,etc

     Advanced technique studies: Bozza Etudes Caprices,  Lacour 8 Difficult Studies,  Karg Elert Etudes

     Review of teaching methods, materials

     Topics of interest as decided by student in consultation w/teacher

 Minimum tune list JSG 70

Criteria for Grading Saxophone Private Lessons

The following factors play a role in the grading of private lessons:

effort/preparedness/attendance for weekly lessons
forum performance
jury performance
accomplishment/achievement relative to level/major
saxophone and departmental forum attendance
recital attendance

The grade A is not the default grade. Do not assume that because everything went "OK" in your lessons that you are entitled to an A.

As you progress upwards your grade will reflect not only your effort and progress, but what the faculty and I have determined to be acceptable skills and quantity of repertoire relative to your level and major. Thus it is possible, as in real life, to work hard, get positive feedback and encouragement, make progress, and still not get an A. The grade A is reserved for superlative accomplishment and mastery of the maximum skills expected at a given level.

B+ indicates above average achievement and progress.
B indicates average achievement and progress.
B-, C+, and C indicate fair to below average progress in need of improvement and will trigger music scholarship probation.

A grade lower than C indicates substandard accomplishment and will trigger reassessment of major/curriculum.

Quantifiable skills include:

tone quality and intonation
technical skills mastered for weekly lessons
technical skill in performance
quantity of repertoire mastered
attendance at lessons/forums/recitals

Overall musicality/interpretation is less objective in terms of grading, but certainly will play a strong role in assessing level of performance.

Weekly lesson and forum performance grades are determined by the private teacher and count as two thirds of the final grade. The private teacher is responsible for making the student aware of his or her expectations for the semester.

Jury grades are determined by an average of the panel's individual grades. The jury grade counts as one third of the final grade.

Absences at saxophone forums, jazz forums and saxophone recitals above 4 (total) count one half-grade penalty per absence. This includes excused absences - plan accordingly.